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The Hardscrabble Realities of Licensing Music...

Monday, October 12, 2009
by  presnikoff

Want to license your music into a film, television program, commercial, or other production?  The Rolling Stones can command millions, as can a range of other well-established groups.  But the off-the-street indie is usually looking at a very modest payout - that is, if anyone is calling back. 

That was the sobering takeaway from a panel of music supervisors and program producers assembled Friday at New Noise Santa Barbara.  "If you have a licensing offer on the table, regardless of what the price is, do it," advised Gerry Cueller, owner of GoBig!  "If the price is $200, don't go for $1,000, because they'll just get another band for $200."

Sounds harsh, though the supply of music is simply too great for producers to entertain negotiations.  Meanwhile, publishers are pushing more heavily on synch licensing opportunities, simply because mechanicals are slipping so badly.  The result is a supply glut, and that means lower payouts for the chosen few.  "There's very rarely a song that you absolutely need," commented Daryl Berg, director of Music Licensing and Supervision at Fuel TV. 

Instead, producers have the luxury of searching around for similar-sounding content if a particular deal falls through.  And, they are usually sifting through a pile of tunes on a tight timetable.  "There's infinitely more music than licensing opportunities," Cueller relayed.  "I get about 100-200 packages a week."

Indeed, the numbers game is stacked in the wrong direction, at least from the artist perspective, though a well-placed slot can open some doors.  A successful show can generate lots of new fans, especially on bigger series and films.  Additionally, those that own their publishing can quickly finalize deals and reap the rewards of downstream usage payouts.

And, there are plenty of ways an artist or composer can stand apart.  Aside from the discouraging realities, the discussion was actually stuffed with surprisingly simple tips on how to lubricate the wheels of a deal.  Some were obvious - for example, supervisors urged submitters to send polished, studio work, not rough garage demos.  And, pare down the selection to the best, most licensable tracks.  "Just send me the best tracks," Cueller advised.

Others tips were incredibly valuable.  For example, Cueller told bands to also record instrumentals while they are in the studio.  Berg told submitters to skip the fancy packaging, and just "be honest" about what the music sounds like.  Adam Levin, executive producer at Headquarters Music, urged groups to accompany their music with exceedingly-clear contact information.  Others advised putting the contact information onto the CD itself.  "I'm very impressed by someone that sends a package that isn't scrawled out with a Sharpie," Levin shared.  

And what about digital submissions?  Seems like MP3s were okay - and oftentimes preferred - by supervisors and producers, though it behooves the artist or composer to check first.  And, in production, MP3s can create some quality problems, according to attorney Bernard Resnick.  "You can hear the difference," the Philadelphia dealmaker told Digital Music News.

What else?  Researching producers can be difficult, though playing Sherlock Holmes pays off.  That means checking the websites of targeted shows, and following the trail of connections to get to the right person.  And, tying with insiders like Resnick can also make sense, simply because the channels are highly specialized and relationship-driven.  "These people get hundreds and hundreds of submissions," Resnick relayed.  "So they appreciate getting something that is tailored to what they want, from a trusted source."

Report by publisher Paul Resnikoff in Santa Barbara, CA.



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